Agnes Varda’nın Çalışmalarında Kadın Tasviri

Öz

Atmış yılı aşkın kariyerinde, Agnès Varda kısadan uzuna, belgeselden kurmacaya birçok farklı işler üretmiştir. Bunlar genellikle hibrit çalışmalar olsa da, hepsi temelde iki eksen etrafında dönmektedir: kadınlar ve onların gündelik şehir yaşamları. Toplumsal cinsiyet ve şehir çalışmaları ekseninde konumlanan bu çalışmanın ilk kısmında, Varda’nın filmografisine de yansıyan kendine has feminen dünyasına genel bir ışık tutmayı amaçlamaktayım. Bunu yaparken yönetmenin kişisel hayatına ve filmlerine de referanslar verilecektir. Çok yönlülük ve özdüşünümsellik gibi temalarla vurgulanan yönetmenin eklektik tarzı ana izleği oluşturacaktır. İkinci kısımda, yürüme ve bakma eylemleri, başka bir deyişle göçebe sinema ve eril bakışı nasıl yıktığı araştırılacaktır. Özetle, temel tartışma konusu Agnès Varda’nın çalışmalarında kadın temsili iken, sürekli hareket halindeki, sınırları aşan, ataerkil söylemlerin yıkan Varda’nın kadınlarının perspektifinden bakarak, beden temsiliyeti, bakış (nazar) kavramı ve şehir deneyimleri üzerinden ilerleyecektir.

Anahtar Kelimeler

• Agnès Varda
• şehir çalışmaları
• feminist filmler
• kadın yönetmenler
• dişil bakış
• göçebe sinema

The Portrayal of Women in the Works of Agnes Varda

Öz

In her long-lasting career spanning more than six decades, Agnès Varda has created myriad works varying from short to feature, documentary to fiction, even some of uncategorised. Despite mostly regarded as hybrid, they are unswervingly revolving around two contexts: women and their experience of everyday urban life. Positioning within the main scheme of gender and urban studies, the first part of this review study, I will try to shed a general light on Varda’s peculiar feminine universe reflecting upon her filmography with references to her personal life and her films. The eclectic style of hers that is highlighted with the themes of versatility and reflexivity will be the main trajectory. In the second part, the act of walking as well as the act of looking; that is, her nomadic cinema and how she subverts the male gaze will be explored. Overall, while the portrayal of women in the works of Agnès Varda will be on the main agenda, through the perspective of her women who are always on move, who always transgress the boundaries and subvert the patriarchal discourses; the representation of the body, the notion of gaze and experimenting with city spaces will also be analysed.

Anahtar Kelimeler

• Agnès Varda
• urban studies
• feminist films
• woman directors
• female gaze
• nomadic cinema

Kaynakça

1. Bachelard, G. (2014). The poetics of space. Penguin.
2. Bénézet, D. (2014). The cinema of Agnès Varda: Resistance and eclecticism. Columbia University Press.
3. Berger, J. (2018). Ways of seeing. In Living with Contradictions (pp. 189-198). Routledge.
4. Braidotti, R. (1994). Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Theory. Columbia University Press. pp. 22-23.
5. Brey, I. (2020). The Female Gaze: A Revolution Onscreen. https://static1.squarespace.com/static/5a68a5a4cf81e073e471d1ac/t/5f80921f4c46ce4f477e5145/1602261535527/Brey+Sample+Beginning.pdf.
6. Bruno, G. (2018). Atlas of Emotion: Journeys in Art, Architecture, and Film. Verso. (first published 2002).
7. Chrostowska, S. D. (2007). Vis-à-vis the glaneuse. Angelaki, 12:2, 119-133. https://doi.org/10.1080/09697250701755092
8. Corrigan, T. (2011). The Essay Film: From Montaine After Marker. Oxford University Press, Inc.

9. Çiçekoğlu, F. (2019). Sözde Karyatidler. Manifold. Available at: https://mani-fold.press/sozde-karyatidler 02/06/2019.
10. Çimen, M. (2023). Following in the Footsteps of Cléo. Türkiye Film Araştırmaları Dergisi, 3(1), 48-56.
11. De Certeau, M. (2002). The Practice of Everyday Life. University of California Press.
12. Elkin, L. (2017). Agnès Varda’s Ecological Conscience. The Paris Review. Available at: https://www.theparisreview.org/blog/2017/10/20/agnes-vardas-ecological-conscience/
13. Flitterman-Lewis, S. (1990). To Desire Differently: Feminism and the French Cinema. University of Illinois Press.
14. Hossain, R. (2011). Female directors, Female Gaze: The Search for Female Subjectivity in Film. Forum, A Monthly Publication of The Daily Star, 5. Issue 05. https://rubaiyat-hossain.com/2011/06/13/265/.
15. Hottell, Ruth A. (2010). “Flying through southern France: Sans toit ni loi by agnès varda” Women’s Studies: An Interdisciplinary Journal, 28:6, 675-69.
16. İnce, K. (2013). Feminist phenomenology and the film world of Agnès Varda. Hypatia, 28(3), 602-617. Stable URL: https://www.jstor.org/stable/24542005.
17. Longhurst, R. (2005). “The Body.” Cultural Geography: A Critical Dictionary of Key Concepts. Ed. David Atkinson, Peter Jackson, David Sibley, and Neil Washbourne. I.B.Tauris. 91-96.
18. Mandy, M. (2000). Filmer le desir. the factory/Saga Film/ARTE France/
19. Marks, L. (2000). The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Durham; London: Duke University Press. doi:10.2307/j.ctv1198x4c
20. Massey, D. (2005). For Space. Thousand Oaks: SAGE.
21. McFadden, C. (2014). Gendered Frames, Embodied Cameras: Varda, Akerman, Cabrera, Calle, and Maïwenn. Madison: Fairleigh Dickinson U P.
22. Michaud, J., and Bellour R. (1961). AgnèsVarda de A a Z. Cinema 61 (60): 3–20.
23. Mulvey, L., (1989). “Visual pleasure and narrative cinema” Visual and other pleas-ures. Palgrave Macmillan. (first published in 1975)
24. Özgen Tuncer, A. (2012). Women on the move: The politics of walking in Agnès Varda. Edinburgh University Press, 103–116. DOI: 10.3366/dls.2012.0049
25. Pinder, D. (2005). Visions of the City. Edinburgh U P.
26. Powrie, P. (2011). Heterotopic Spaces and Nomadic Gazes in Varda: From Cléo de5 à 7 to Les Glaneurs et la glaneuse. L’Esprit Créateur Volume 51, Number 1, Spring pp. 68-82. DOI: https://doi.org/10.1353/esp.2011.0009
27. Romney, J. (2010). BFI Live: Jonathan Romney on Agnès Varda. Video conversation. Available at: www.bfi.org.uk/live/video/333.
28. Rose, G. (1993). Feminism and Geography: The Limits of Geographical Knowledge. Minnesota P.
29. Smith, A. (1998). Agnès Varda. Manchester University Press.
30. Soloway, J. (2016). Jill Soloway on The Female Gaze | MASTER CLASS | TIFF 2016. YouTube. Available at: https://www.youtube.com/watch?v=pnBvppooD9I
31. Thomas, K. (2002). Meaning in gleaning. Los Angeles Times. Available at: https://www.latimes.com/archives/la-xpm-2002-dec-19-wk-thomas19-story.html (last visited on 20 June 2021)
32. Vincendeau, G. (2019). “La Pointe Courte: How Agnès Varda “Invented” the New Wave”. The Criterion Collection. Available at: https://www.crite-rion.com/current/posts/497-la-pointe-courte-how-agn-s-varda- invented-the-new-wave
33. Williams, A. (1992). Republic of Images: A History of French Filmmaking. Harvard University Press. Aydın, S. (2020, 10 09). Taammüden Anakronizm: Dizilerde Tarihin Politik Kullanımları. e-Skop Dergi (17). URL: https://www.e-skop.com/skopdergi/taammuden-anakronizm-dizilerde-tarihin-politik-kullanimlari/5897 (E.T.: 25.10.2021).
34. Woolf, V. (1930). Street Haunting, A London Adventure. Westgate Press (first pub-lished in 1927) https://www.bl.uk/collection-items/street-haunting-an-essay-by-virginia-woolf